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9781606991596 English 1606991590 Jim Flora (1914-1998) has been rediscovered this decade as an alchemist of bizarre and politely disturbing fine art. His two previous books reveal an artist steeped in colourful contradiction. His images are fun while threatening, playful yet dangerous and humorous but deadly. The Sweetly Diabolic Art burnishes Flora's reputation as one of the great overlooked artists of the 20th century. The book features paintings, drawings and sketches from the 1940s through to the 1990s, most never previously published or exhibited., Jim Flora (1914-1998)'s two previous books (The Mischievous Art and The Curiously Sinister Art), are each in multiple printings. The Sweetly Diabolic Art features paintings, drawings, and sketches from the 1940s through the 1990s, most never previously published or exhibited, as well as more artifacts from Flora's 1940s tenure in the Columbia Records art department and rare newspaper and magazine illustrations spanning several decades. Sweetly Diabolic is also the first printing of an abandoned children's book concept, The X-Ray Eyes of Wallingford Hume. Equally fascinating are original, never-before-published roughs and rejected images from Flora's 1950s and '60s children's books and a gallery of pen and pencil sketches from the 1940s. Sweetly Diabolic also collects, for the first time rarely seen cartoon-science illustrations: the images are augmented by personal vignettes, mementos from the family archives, and a 1984 interview with award-winning graphic designer Robert M. Jones, who offers priceless insights, Jim Flora (1914-1998), long admired for boisterous 1940s and '50s record cover illustrations and a later series of best-selling children's books, has been rediscovered in recent years as an alchemist of bizarre and politely disturbing imagery. The Sweetly Diabolic Art of Jim Flora burnishes the reputation of one of the great overlooked paintbox fantasists of the twentieth century. Like its two predecessors (The Mischievous Art of Jim Flora and The Curiously Sinister Art of Jim Flora), this anthology celebrates a visionary whose work is steeped in vari-hued paradox. Flora's figures are fun while threatening; playful yet dangerous; humorous but deadly. His helter-skelter arabesques are clustered with strangely contorted critters of no identifiable species, juxtaposed amid toothpick towers and trombones twisted into stevedore knots. Down his streets lurch demonic mutants sporting fried-egg eyes, dagger noses, and bonus limbs. Yet, despite the raucous energy projected in these hyperactive mosaics, a typical Flora freak circus often projects harmony and balance -- an ordered chaos. Like the first two volumes of Floriana, The Sweetly Diabolic Art of Jim Flora features paintings, drawings, and sketches from the 1940s through the 1990s -- many never previously published or exhibited; more artifacts from the artist's 1940s tenure in the Columbia Records art department; and vintage newspaper and magazine illustrations. This collection also heralds the first publication of an early, abandoned book for youngsters, "The X-Ray Eye of Wallingford Hume," which Flora drafted in 1943. Equally fascinating are original roughs, overlays, and concept images for his 1950s and '60s published kid-lit. In a curious inversion from art to objet d'art, these partial illustrations -- intended to be layered for a printer's composite -- are impressive, in their curious minimalism, as stand-alone masterpieces. A gallery of 1940s pen and pencil sketches invokes a catacomb of nightmarish apparitions and inscrutable petroglyphs. Sweetly Diabolic also collects for the first time between covers a sideshow of science widgetry from a short-lived, now-obscure mid-1950s monthly, Research & Engineering, for which Flora served as art director. Chronicles of Flora's career, personal vignettes, and mementos from the family archives augment the images. Although a lot of his work appears cartoonish, Flora didn't draw comics. He always projected a veneer of sophistication that elevated his images to the level of fine art, even when grinding out topical illustrations for newsstand weeklies. Flora deftly merged the well mannered with the maniacal--eyeball jazz that bops and bounces in unfathomable meters., Jim Flora (1914Â-1998), long admired for boisterous 1940s and '50s record cover illustrations and a later series of best-selling children's books, has been rediscovered in recent years as an alchemist of bizarre and politely disturbing imagery. The Sweetly Diabolic Art of Jim Flora burnishes the reputation of one of the great overlooked paintbox fantasists of the twentieth century.Like its two predecessors (The Mischievous Art of Jim Flora and The Curiously Sinister Art of Jim Flora), this anthology celebrates a visionary whose work is steeped in vari-hued paradox. Flora's figures are fun while threatening; playful yet dangerous; humorous but deadly. His helter-skelter arabesques are clustered with strangely contorted critters of no identifiable species, juxtaposed amid toothpick towers and trombones twisted into stevedore knots. Down his streets lurch demonic mutants sporting fried-egg eyes, dagger noses, and bonus limbs. Yet, despite the raucous energy projected in these hyperactive mosaics, a typical Flora freak circus often projects harmony and balance -- an ordered chaos.Like the first two volumes of Floriana, The Sweetly Diabolic Art of Jim Flora features paintings, drawings, and sketches from the 1940s through the 1990s -- many never previously published or exhibited; more artifacts from the artist's 1940s tenure in the Columbia Records art department; and vintage newspaper and magazine illustrations.This collection also heralds the first publication of an early, abandoned book for youngsters, "The X-Ray Eye of Wallingford Hume," which Flora drafted in 1943. Equally fascinating are original roughs, overlays, and concept images for his 1950s and '60s published kid-lit. In a curious inversion from art to objet d'art, these partial illustrations -- intended to be layered for a printer's composite -- are impressive, in their curious minimalism, as stand-alone masterpieces.A gallery of 1940s pen and pencil sketches invokes a catacomb of nightmarish apparitions and inscrutable petroglyphs. Sweetly Diabolic also collects for the first time between covers a sideshow of science widgetry from a short-lived, now-obscure mid-1950s monthly, Research & Engineering, for which Flora served as art director. Chronicles of Flora's career, personal vignettes, and mementos from the family archives augment the images.Although a lot of his work appears cartoonish, Flora didn't draw comics. He always projected a veneer of sophistication that elevated his images to the level of fine art, even when grinding out topical illustrations for newsstand weeklies. Flora deftly merged the well mannered with the maniacal--eyeball jazz that bops and bounces in unfathomable meters., Jim Flora (1914�-1998), long admired for boisterous 1940s and '50s record cover illustrations and a later series of best-selling children's books, has been rediscovered in recent years as an alchemist of bizarre and politely disturbing imagery. The Sweetly Diabolic Art of Jim Flora burnishes the reputation of one of the great overlooked paintbox fantasists of the twentieth century. Like its two predecessors (The Mischievous Art of Jim Flora and The Curiously Sinister Art of Jim Flora), this anthology celebrates a visionary whose work is steeped in vari-hued paradox. Flora's figures are fun while threatening; playful yet dangerous; humorous but deadly. His helter-skelter arabesques are clustered with strangely contorted critters of no identifiable species, juxtaposed amid toothpick towers and trombones twisted into stevedore knots. Down his streets lurch demonic mutants sporting fried-egg eyes, dagger noses, and bonus limbs. Yet, despite the raucous energy projected in these hyperactive mosaics, a typical Flora freak circus often projects harmony and balance -- an ordered chaos. Like the first two volumes of Floriana, The Sweetly Diabolic Art of Jim Flora features paintings, drawings, and sketches from the 1940s through the 1990s -- many never previously published or exhibited; more artifacts from the artist's 1940s tenure in the Columbia Records art department; and vintage newspaper and magazine illustrations. This collection also heralds the first publication of an early, abandoned book for youngsters, "The X-Ray Eye of Wallingford Hume," which Flora drafted in 1943. Equally fascinating are original roughs, overlays, and concept images for his 1950s and '60s published kid-lit. In a curious inversion from art to objet d'art, these partial illustrations -- intended to be layered for a printer's composite -- are impressive, in their curious minimalism, as stand-alone masterpieces. A gallery of 1940s pen and pencil sketches invokes a catacomb of nightmarish apparitions and inscrutable petroglyphs. Sweetly Diabolic also collects for the first time between covers a sideshow of science widgetry from a short-lived, now-obscure mid-1950s monthly, Research & Engineering, for which Flora served as art director. Chronicles of Flora's career, personal vignettes, and mementos from the family archives augment the images. Although a lot of his work appears cartoonish, Flora didn't draw comics. He always projected a veneer of sophistication that elevated his images to the level of fine art, even when grinding out topical illustrations for newsstand weeklies. Flora deftly merged the well mannered with the maniacal--eyeball jazz that bops and bounces in unfathomable meters., Like its two predecessors The Mischievous Art of Jim Flora and The Curiously Sinister Art of Jim Flora), this anthology celebrates a visionary whose work is steeped in vari-hued paradox. Flora's figures are fun while threatening; playful yet dangerous; humorous but deadly. His helter-skelter arabesques are clustered with strangely contorted critters of no identifiable species, juxtaposed amid toothpick towers and trombones twisted into stevedore knots. Down his streets lurch demonic mutants sporting fried-egg eyes, dagger noses, and bonus limbs. Yet, despite the raucous energy projected in these hyperactive mosaics, a typical Flora freak circus often projects harmony and balance an ordered chaos. Like the first two volumes of Floriana, The Sweetly Diabolic Art of Jim Flora features paintings, drawings, and sketches from the 1940s through the 1990s many never previously published or exhibited; more artifacts from the artist's 1940s tenure in the Columbia Records art department; and vintage newspaper and magazine illustrations. This collection also heralds the first publication of an early, abandoned book for youngsters, "The X-Ray Eye of Wallingford Hume," which Flora drafted in 1943. Equally fascinating are original roughs, overlays, and concept images for his 1950s and '60s published kid-lit. In a curious inversion from art to objet d'art, these partial illustrations intended to be layered for a printer's composite are impressive, in their curious minimalism, as stand-alone masterpieces A gallery of 1940s pen and pencil sketches invokes a catacomb of nightmarish apparitions and inscrutable petroglyphs.Sweetly Diabolic also collects for the first time between covers a sideshow of science widgetry from a short-lived, now-obscure mid-1950s monthly, Research & Engineering, for which Flora served as art director. Chronicles of Flora's career, personal vignettes, and mementos from the family archives augment the images. Although a lot of his work appears cartoonish, Flora didn't draw comics. He always projected a veneer of sophistication that elevated his images to the level of fine art, even when grinding out topical illustrations for newsstand weeklies. Flora deftly merged the well mannered with the maniacal eyeball jazz that bops and bounces in unfathomable meters. ", The Sweetly Diabolic Art features paintings, drawings, and sketches from the 1940s through the 1990s, most never previously published or exhibited, as well as more artifacts from Flora's 1940s tenure in the Columbia Records art department and rare newspaper and magazine illustrations spanning several decades. Sweetly Diabolic is also the first printing of an abandoned children's book concept, The X-Ray Eyes of Wallingford Hume . Equally fascinating are original, never-before-published roughs and rejected images from Flora's 1950s and '60s children's books and a gallery of pen and pencil sketches from the 1940s. Sweetly Diabolic also collects, for the first time rarely seen cartoon-science illustrations: the images are augmented by personal vignettes, mementos from the family archives, and a 1984 interview with award-winning graphic designer Robert M. Jones, who offers priceless insights., The internet has changed the way news media write about various issues and disseminate information and opinions. It has reshaped the way people look for leisure and pleasure. Metaphor and Entertainment investigates the online language practice of a relatively new genre of news writing in contemporary China: online entertainment news. It focuses, in particular, on the patterns of metaphor, which are used to inform the rhetorical goal of providing readers with the latest information about the popular entertainment industry (movies, TV and pop music), while entertaining them.The author argues that these patterns of metaphor are products of the changing landscape of Chinese society. They reveal an emergent discourse pattern where mainstream media discourse interacts with and is constantly re-shaped by traditional literary legacy and the public and grassroots discourse. This cutting-edge analysis will be of interest to scholars and students dealing with media discourse, metaphor and Chinese language.
9781606991596 English 1606991590 Jim Flora (1914-1998) has been rediscovered this decade as an alchemist of bizarre and politely disturbing fine art. His two previous books reveal an artist steeped in colourful contradiction. His images are fun while threatening, playful yet dangerous and humorous but deadly. The Sweetly Diabolic Art burnishes Flora's reputation as one of the great overlooked artists of the 20th century. The book features paintings, drawings and sketches from the 1940s through to the 1990s, most never previously published or exhibited., Jim Flora (1914-1998)'s two previous books (The Mischievous Art and The Curiously Sinister Art), are each in multiple printings. The Sweetly Diabolic Art features paintings, drawings, and sketches from the 1940s through the 1990s, most never previously published or exhibited, as well as more artifacts from Flora's 1940s tenure in the Columbia Records art department and rare newspaper and magazine illustrations spanning several decades. Sweetly Diabolic is also the first printing of an abandoned children's book concept, The X-Ray Eyes of Wallingford Hume. Equally fascinating are original, never-before-published roughs and rejected images from Flora's 1950s and '60s children's books and a gallery of pen and pencil sketches from the 1940s. Sweetly Diabolic also collects, for the first time rarely seen cartoon-science illustrations: the images are augmented by personal vignettes, mementos from the family archives, and a 1984 interview with award-winning graphic designer Robert M. Jones, who offers priceless insights, Jim Flora (1914-1998), long admired for boisterous 1940s and '50s record cover illustrations and a later series of best-selling children's books, has been rediscovered in recent years as an alchemist of bizarre and politely disturbing imagery. The Sweetly Diabolic Art of Jim Flora burnishes the reputation of one of the great overlooked paintbox fantasists of the twentieth century. Like its two predecessors (The Mischievous Art of Jim Flora and The Curiously Sinister Art of Jim Flora), this anthology celebrates a visionary whose work is steeped in vari-hued paradox. Flora's figures are fun while threatening; playful yet dangerous; humorous but deadly. His helter-skelter arabesques are clustered with strangely contorted critters of no identifiable species, juxtaposed amid toothpick towers and trombones twisted into stevedore knots. Down his streets lurch demonic mutants sporting fried-egg eyes, dagger noses, and bonus limbs. Yet, despite the raucous energy projected in these hyperactive mosaics, a typical Flora freak circus often projects harmony and balance -- an ordered chaos. Like the first two volumes of Floriana, The Sweetly Diabolic Art of Jim Flora features paintings, drawings, and sketches from the 1940s through the 1990s -- many never previously published or exhibited; more artifacts from the artist's 1940s tenure in the Columbia Records art department; and vintage newspaper and magazine illustrations. This collection also heralds the first publication of an early, abandoned book for youngsters, "The X-Ray Eye of Wallingford Hume," which Flora drafted in 1943. Equally fascinating are original roughs, overlays, and concept images for his 1950s and '60s published kid-lit. In a curious inversion from art to objet d'art, these partial illustrations -- intended to be layered for a printer's composite -- are impressive, in their curious minimalism, as stand-alone masterpieces. A gallery of 1940s pen and pencil sketches invokes a catacomb of nightmarish apparitions and inscrutable petroglyphs. Sweetly Diabolic also collects for the first time between covers a sideshow of science widgetry from a short-lived, now-obscure mid-1950s monthly, Research & Engineering, for which Flora served as art director. Chronicles of Flora's career, personal vignettes, and mementos from the family archives augment the images. Although a lot of his work appears cartoonish, Flora didn't draw comics. He always projected a veneer of sophistication that elevated his images to the level of fine art, even when grinding out topical illustrations for newsstand weeklies. Flora deftly merged the well mannered with the maniacal--eyeball jazz that bops and bounces in unfathomable meters., Jim Flora (1914Â-1998), long admired for boisterous 1940s and '50s record cover illustrations and a later series of best-selling children's books, has been rediscovered in recent years as an alchemist of bizarre and politely disturbing imagery. The Sweetly Diabolic Art of Jim Flora burnishes the reputation of one of the great overlooked paintbox fantasists of the twentieth century.Like its two predecessors (The Mischievous Art of Jim Flora and The Curiously Sinister Art of Jim Flora), this anthology celebrates a visionary whose work is steeped in vari-hued paradox. Flora's figures are fun while threatening; playful yet dangerous; humorous but deadly. His helter-skelter arabesques are clustered with strangely contorted critters of no identifiable species, juxtaposed amid toothpick towers and trombones twisted into stevedore knots. Down his streets lurch demonic mutants sporting fried-egg eyes, dagger noses, and bonus limbs. Yet, despite the raucous energy projected in these hyperactive mosaics, a typical Flora freak circus often projects harmony and balance -- an ordered chaos.Like the first two volumes of Floriana, The Sweetly Diabolic Art of Jim Flora features paintings, drawings, and sketches from the 1940s through the 1990s -- many never previously published or exhibited; more artifacts from the artist's 1940s tenure in the Columbia Records art department; and vintage newspaper and magazine illustrations.This collection also heralds the first publication of an early, abandoned book for youngsters, "The X-Ray Eye of Wallingford Hume," which Flora drafted in 1943. Equally fascinating are original roughs, overlays, and concept images for his 1950s and '60s published kid-lit. In a curious inversion from art to objet d'art, these partial illustrations -- intended to be layered for a printer's composite -- are impressive, in their curious minimalism, as stand-alone masterpieces.A gallery of 1940s pen and pencil sketches invokes a catacomb of nightmarish apparitions and inscrutable petroglyphs. Sweetly Diabolic also collects for the first time between covers a sideshow of science widgetry from a short-lived, now-obscure mid-1950s monthly, Research & Engineering, for which Flora served as art director. Chronicles of Flora's career, personal vignettes, and mementos from the family archives augment the images.Although a lot of his work appears cartoonish, Flora didn't draw comics. He always projected a veneer of sophistication that elevated his images to the level of fine art, even when grinding out topical illustrations for newsstand weeklies. Flora deftly merged the well mannered with the maniacal--eyeball jazz that bops and bounces in unfathomable meters., Jim Flora (1914�-1998), long admired for boisterous 1940s and '50s record cover illustrations and a later series of best-selling children's books, has been rediscovered in recent years as an alchemist of bizarre and politely disturbing imagery. The Sweetly Diabolic Art of Jim Flora burnishes the reputation of one of the great overlooked paintbox fantasists of the twentieth century. Like its two predecessors (The Mischievous Art of Jim Flora and The Curiously Sinister Art of Jim Flora), this anthology celebrates a visionary whose work is steeped in vari-hued paradox. Flora's figures are fun while threatening; playful yet dangerous; humorous but deadly. His helter-skelter arabesques are clustered with strangely contorted critters of no identifiable species, juxtaposed amid toothpick towers and trombones twisted into stevedore knots. Down his streets lurch demonic mutants sporting fried-egg eyes, dagger noses, and bonus limbs. Yet, despite the raucous energy projected in these hyperactive mosaics, a typical Flora freak circus often projects harmony and balance -- an ordered chaos. Like the first two volumes of Floriana, The Sweetly Diabolic Art of Jim Flora features paintings, drawings, and sketches from the 1940s through the 1990s -- many never previously published or exhibited; more artifacts from the artist's 1940s tenure in the Columbia Records art department; and vintage newspaper and magazine illustrations. This collection also heralds the first publication of an early, abandoned book for youngsters, "The X-Ray Eye of Wallingford Hume," which Flora drafted in 1943. Equally fascinating are original roughs, overlays, and concept images for his 1950s and '60s published kid-lit. In a curious inversion from art to objet d'art, these partial illustrations -- intended to be layered for a printer's composite -- are impressive, in their curious minimalism, as stand-alone masterpieces. A gallery of 1940s pen and pencil sketches invokes a catacomb of nightmarish apparitions and inscrutable petroglyphs. Sweetly Diabolic also collects for the first time between covers a sideshow of science widgetry from a short-lived, now-obscure mid-1950s monthly, Research & Engineering, for which Flora served as art director. Chronicles of Flora's career, personal vignettes, and mementos from the family archives augment the images. Although a lot of his work appears cartoonish, Flora didn't draw comics. He always projected a veneer of sophistication that elevated his images to the level of fine art, even when grinding out topical illustrations for newsstand weeklies. Flora deftly merged the well mannered with the maniacal--eyeball jazz that bops and bounces in unfathomable meters., Like its two predecessors The Mischievous Art of Jim Flora and The Curiously Sinister Art of Jim Flora), this anthology celebrates a visionary whose work is steeped in vari-hued paradox. Flora's figures are fun while threatening; playful yet dangerous; humorous but deadly. His helter-skelter arabesques are clustered with strangely contorted critters of no identifiable species, juxtaposed amid toothpick towers and trombones twisted into stevedore knots. Down his streets lurch demonic mutants sporting fried-egg eyes, dagger noses, and bonus limbs. Yet, despite the raucous energy projected in these hyperactive mosaics, a typical Flora freak circus often projects harmony and balance an ordered chaos. Like the first two volumes of Floriana, The Sweetly Diabolic Art of Jim Flora features paintings, drawings, and sketches from the 1940s through the 1990s many never previously published or exhibited; more artifacts from the artist's 1940s tenure in the Columbia Records art department; and vintage newspaper and magazine illustrations. This collection also heralds the first publication of an early, abandoned book for youngsters, "The X-Ray Eye of Wallingford Hume," which Flora drafted in 1943. Equally fascinating are original roughs, overlays, and concept images for his 1950s and '60s published kid-lit. In a curious inversion from art to objet d'art, these partial illustrations intended to be layered for a printer's composite are impressive, in their curious minimalism, as stand-alone masterpieces A gallery of 1940s pen and pencil sketches invokes a catacomb of nightmarish apparitions and inscrutable petroglyphs.Sweetly Diabolic also collects for the first time between covers a sideshow of science widgetry from a short-lived, now-obscure mid-1950s monthly, Research & Engineering, for which Flora served as art director. Chronicles of Flora's career, personal vignettes, and mementos from the family archives augment the images. Although a lot of his work appears cartoonish, Flora didn't draw comics. He always projected a veneer of sophistication that elevated his images to the level of fine art, even when grinding out topical illustrations for newsstand weeklies. Flora deftly merged the well mannered with the maniacal eyeball jazz that bops and bounces in unfathomable meters. ", The Sweetly Diabolic Art features paintings, drawings, and sketches from the 1940s through the 1990s, most never previously published or exhibited, as well as more artifacts from Flora's 1940s tenure in the Columbia Records art department and rare newspaper and magazine illustrations spanning several decades. Sweetly Diabolic is also the first printing of an abandoned children's book concept, The X-Ray Eyes of Wallingford Hume . Equally fascinating are original, never-before-published roughs and rejected images from Flora's 1950s and '60s children's books and a gallery of pen and pencil sketches from the 1940s. Sweetly Diabolic also collects, for the first time rarely seen cartoon-science illustrations: the images are augmented by personal vignettes, mementos from the family archives, and a 1984 interview with award-winning graphic designer Robert M. Jones, who offers priceless insights., The internet has changed the way news media write about various issues and disseminate information and opinions. It has reshaped the way people look for leisure and pleasure. Metaphor and Entertainment investigates the online language practice of a relatively new genre of news writing in contemporary China: online entertainment news. It focuses, in particular, on the patterns of metaphor, which are used to inform the rhetorical goal of providing readers with the latest information about the popular entertainment industry (movies, TV and pop music), while entertaining them.The author argues that these patterns of metaphor are products of the changing landscape of Chinese society. They reveal an emergent discourse pattern where mainstream media discourse interacts with and is constantly re-shaped by traditional literary legacy and the public and grassroots discourse. This cutting-edge analysis will be of interest to scholars and students dealing with media discourse, metaphor and Chinese language.